Joe Keery, best known as Steve Harrington from Stranger Things, further cements his place as a musician with The Crux, his third solo album under the moniker Djo, pronounced “Joe”. Following the success of his sophomore album DECIDE, which propelled him into the mainstream with the viral sensation End of Beginning, The Crux showcases Djo’s artistic growth, embracing a richer, more organic sound while maintaining the introspective lyricism and falsetto that has become his signature. Unlike his earlier synth-driven projects, The Crux leans into a fuller, more instrumentally diverse production, with its pianos, intricate guitar work, and layered harmonies evoking 60s and 70s pop elements. Co-produced with longtime collaborator Adam Thein, the album radiates a warm, almost cinematic quality through its blend of psych-rock, indie pop, and alternative sensibilities. This shift from electronic textures to full-bodied arrangements signals Djo’s evolution, showcasing a musician fully confident in his craft.
A perfect opener, Lonesome State Of Mind bursts with energy, setting the tone for the album’s thematic exploration of self-reliance and change. Echoing the sounds of Declan McKenna with a hint of The New Abnormal-era The Strokes, the track is both playful and poignant, delivering the reassuring mantra: “you’re not lonely when you’re hanging with yourself.” The lead single, Basic Being Basic, is as satirical as it is infectious. Featuring Djo’s signature falsetto, the track critiques modern online posturing, capturing the zeitgeist with sharp wit. Lines like, “Take a picture of your plate” poke fun at curated digital personas, while the song’s groove ensures its place as one of the album’s catchiest moments.
Laden with nostalgia, Link reflects on past achievements and transitions, with Djo dropping the simple yet evocative phrase graduated, a nod to his time at DePaul University and his journey beyond Chicago. Sonically, the track channels peak-era Kings of Leon with soaring vocals and anthemic instrumentals that heighten its reflective mood, making it one of the album’s most emotionally resonant tracks. Potion acts as a tender love song marked by the heartfelt lyric, “I’ll try to find someone who leaves on the light for me.” Released just days before the album, it establishes a deeply personal and introspective tone, offering a moment of warmth and vulnerability amidst the album’s broader themes of transition and change. The second single, Delete Ya, carries thematic parallels to End of Beginning, capturing the sense of displacement that comes with personal evolution. The chorus “back in the city, no longer my home” is both melancholic and liberating, embodying the bittersweet action of leaving parts of the past behind. Its hypnotic rhythms and pulsating synths make it a standout.
The album’s longest and arguably most potent track, Fly, is a sweeping, acoustic-led piece that is a testament to Djo’s songwriting prowess. The stripped-back instrumentation allows Djo’s emotive vocals to shine, making Fly one of the album’s most affecting moments. Injecting playful energy into the record, Charlie’s Garden is an upbeat, Beatles—and Queen-esque track that provides a welcome burst of joy. With its theatrical flair and infectious melodies, it showcases Djo’s ability to craft dynamic, engaging compositions that balance fun with sophistication. A groovy, Tame Impala-inspired track, Back on You features an opening choir section before launching into one of the album’s most infectious beats. The psychedelic elements paired with a deep, driving rhythm make it a standout, further highlighting Djo’s diverse influences. The album’s namesake and final track, Crux, ties the entire record together. Returning to a piano-driven sound, it blends nostalgia with a sense of living in the moment. As the closing notes fade, it becomes clear that The Crux is not merely a collection of songs—it’s a reflection on growth, identity, and the fleeting nature of life. The track serves as a celebration of everything Djo has achieved—not only on this album but throughout his artistic career. With The Crux, Djo proves once again that he is far more than just an actor dabbling in music—he is a musician with a unique voice and vision. The album is a testament to his artistic growth, balancing moments of introspection with bursts of unfiltered joy. With a global tour on the horizon and End of Beginning still resonating worldwide, 2025 is shaping to be the year of Djo.
Words by Amelia Thompson